Interwoven Temari Design Help

Working Interwoven/All Over Designs

Interwoven and/or all-over designs in Temari patterns are generally worked in subsequent layers that cover the surface of the mari, sometimes achieving total coverage. They can be worked on simple divisions; if worked on a C8, C10 or similar division, they are based on identifying basic shapes within the division, called lozenges. One or more rows are stitched on each shape as they occur on the ball to complete a layer; the next layer is not begun until all the current layer is complete. It is this method that evolves a final pattern that appears to have been "woven" together (not to be confused with some patterns that are indeed worked by weaving through existing threads). (See the Temari Glossary for help with the terms used). The final design may cover the ball entirely, or white space from the mari wrap may be incorporated into the pattern.

These are all examples of Interwoven Designs, while (going from left to right), photo 3 is an All-Over designs:

        One of the most important things about working an all-over pattern occurs before you start stitching the pattern. Perhaps in no other pattern class of temari is it more important to have as round a mari and as accurate a division. Deviations from these will be more apparent than in other patterns, since errors will result in "open spaces" where the pattern is supposed to close in and cover the mari. Needless to say, it's almost humanly impossible to prepare a perfectly round mari and absolute accurate markings - so it's not unusual to need to work some "fill in stitches" when the design is complete. The trick is to execute them in ways so that they blend invisibly into the overall design. Also, grooming your threads as you go, being sure that threads are placed or groomed into proper placing, paying attention to direction of lay, parallels, perpendiculars and where things are supposed to intersect, is a valuable investment of time and effort as you work all-over designs. Sandy S. and several other folks on TT contribute this tip also: "Sometimes when I have something that really needs to come out even after many rounds, I will evenly subdivide that length and mark these intermediate points with pins. This way I can double-check my spacing as I go. It makes it easier to hide small
variations in stitch placement distances, rather than wait until the last few rounds of the figure to squash or stretch things to the right spacing." Says Anastasia: "I do the same thing, onlyI don't place all the pins at once.Wwhat i'll do is mark the distance in 1/2 centimeter increments - when all the shapes have reached the first pin, I take those pins out and move them to the next 1/2 centimeter point. To keep things even,I measure
from the intersections I'm trying to reach instead of from the edge of my stitching.".

        The most critical concept of working interwoven designs is keeping track of "where you are". Interwovens on simple/vertical divides are easy to visualize although if you are working a design that has a hight number of divisions, keeping track of your starting line and where you are in relation is important. On C8s and C10s, identifying which pole you begin working around and then move to to keep your orientation is critical - without doing this the design will emerge but it will not have the definition and crispness that it should (at best) - at worst it may not even look like what you were hoping. You must move from one center to the next center (which ever one it is as defined in the first layer) in the same sequence all the time. Some patterns are easy to visualize where you are and it's easy to see what lozenges have been stitched or not while working a layer. Other patterns, especially ones that cover the mari with stitching are more difficult to stay oriented on, but it is important to do so. It's a fairly firm statement to say that the next lozenge to be stitched is going to be the one that is fully "under" the threads of all adjacent threads. Careful inspection for this can reorient you or confirm where you "go next".

       There is a simple way to keep track of things - mark the poles (necessary) and keep notes (if needed). if you knit, you know that many times you need to jot a note to yourself when you stop in the middle of an intricate pattern sequence so that you can pick up in the proper place where you left off. Temari patterns can have the same need.

        One way or the other you need to identify the poles on the division. There are many "unique" pins available in notions, craft and quilting departments - and many of these work well on 6-centers designs. You can use a specific color sequence, or even something as simple as using plain dressmakers pins, putting one pin in the center of the first pole, two pins in the middle of the second pole and so forth. Another option is to cut small circles and write the numbers 1-12 on them - pin one each in the center of a pole. This can work well until your stitching begins to close in around the poles (and on many all-over designs, each pole has the stitching close into the center of it as you work successive rounds).

        It's easier to make "pin flags" - so that the marker stands up off the surface of the mari (think of it like being the flag in the hole on a golf course. It's there but it's out of the way even before you pull it out to putt). If you take a tour through your local craft, teacher supply or office supply store you may well find something that serves the purpose and all you need to do is use a permanent marker to write the numbers on them - I found neat little flag pins in my office supply store. However it's very easy to make your own with regular straight pins, and either self stick labels (something like file folder or address labels, computer labels etc) or even masking, adhesive or duct tape. Cut a small piece about 1 1/4 inch by 1/2 inch; fold it in half and cut notches on each side (this is optional but it can help if you are using pins with larger heads); wrap it around the pin so it sticks together and mark the number on it. Adjust the size of the tag if you prefer.

Pin the center of each pole with a marker flag so that you can keep working in the same order around the ball as you stitch through the layers of the design. On more complicated designs you may find that keeping some paper and pencil notes to keep your place is also a help. It will be worth it in the end with the outcome of a crisp and intricate-looking design.

Some patterns require you to avoid having "multiple threads" - more than one layer per lozenge. Or, some patterns rely on varying numbers of layers to achieve a shape emerging out of the weaving of the layers. Bottom line is, it's important to stay on track with what the directions call for. Use these hints or something else you devise to stay on course and working interwoven designs is much easier with great outcomes. As long as you are watching things in terms of grooming your threads, and always being sure that you are stitching on a lozenge that is "under" its neighbors you are on track and can expect a crisp outcome.